A concert was held recently in Delhi where Kolkata-based Deb Prasad Chakravorty, disciple of the late Ajoy Sinha Roy performed sitar recital for two hours. He has also received guidance under late Baba Alauddin Khan and his younger brother Ayet Ali Khan.

He brought the evening to life playing some brilliant tones. He began his recital with the most appropriate dusk-time raga Puriya Dhanashri. The long lasting alap, jod and jhala were comprehensively rendered which summed the entire scheme of the sitar encircling all the three-and-a-half octaves. He handled the bass strings very neatly. However he presented the ragas in a straight manner instead of interlacing them, and this came as a disappointment. This followed the season's raga Mian-ki-Malhar, followed by the slow 16-beat Masitkhani gat-toda, and ended with a speedy Teen tala composition in raga Hemant (composed by late Ustad Alauddin Khan of Maiher) with a Madhyam note and brilliant jhala sequence. He produced rich and innovative, slow and fast Teen tala gat-todas in raga Piloo. However his experimentation with age-old compositions were not impressive enough.

Delhi has always been an outstanding musical platform. Currently it’s echoing with the sounds of ragas as the Spic Macay's Virasat and Samrat's international festival of music has been organized there.

Spic Macay has been organizing the Virasat series every twelve months, bringing forth classical music, dance, theatre, folk arts, and film classics at all educational institutions, in an attempt to take our rich heritage closer to the youth of the time. This year the festival has been dedicated to the late Ustad Bismillah Khan. Another high point is the 1700 events to be held across the country spread over a period between September to December. This year’s event has been named Virasat-2006 and was inaugurated at the Vice Regal Lodge, Delhi University. Virasat-2006 commenced with a Bharatanatyam dance recital by Sonal Mansingh who has specially conceived the music and dance performance for the purpose. Enthralling flute piece by Pandit Hari Prasad Chaurasia followed this and he lighted the event playing Yaman raga. He played Jaijaivanti next, reciting the famous composition ‘Paiyaan paroongi palanga na chadhoongi’ set in Teen tala, immortalized by Ustad Faiyaz Khan of the Agra gharana. Sunil Avachat on the flute and Vijay Ghate on the tabla, who are his disciples, supported him ably.

Samrat's two-day International Festival of Indian classical music was also inaugurated in Delhi as ‘a bond of cultural friendship among the people of the world’. The event will also be organized in Mumbai, Goa, Banglore, London, and New York. The festival was held at Kamani auditorium. Saskia Rao de Haas from Netherlands opened the fest with raga Maru Bihag. She began her training from her husband Shubhendra Rao who has been a disciple of Pandit Ravishankar belonging to the Maihar Senia gharana style. Her rearing in Indian classical music was further groomed by Vidushi Sumati Mutatkar and Deepak Chaudhury. She played compositions in Jhap tala, Teen tala and Shivaranjani.

  The first evening reverberated with the vocal recitals of Pandit Ulhas Kashalkar who appealed with his ragas like Nat Bihag’s ‘Jhan jhan jhan jhan’, Nayaki Kanhara, Sohani and Bhairavi’s ‘Jamuna ke teer’. Pandit Ulhas Kashalkar is trained in the Gwaliar, Jaipur and Agra gharanas and his gayaki generally follows three styles, blended with subtle nuances. His rendition left the audience in a nostalgic state of mind. The next day Sunanda Sharma offered vilambit and drut khayals in raga Madhuvanti, followed by tappa (Kafi) and thumri (Khamaj). The attraction of the festival was the outstanding old bandishes in Yaman Kalyan raga played melodiously on the sitar by Ustad Shujaat Khan. Shuddha Madhyam’s renditions of the mukhara in a distinct style made this an extraordinary affair.

The aura around the lawn of a five star hotel was so appealing to the eye and refreshing to mind, and it was all because of the party hosted by Manav Singh. Amaan, Ayaan Ali and Pakistani Sufi singer Shafkat Ali Khan made the party so memorable by playing some cool music.

The rather dull evening turned bright and alive once the musicians started performing good music. Shafkat sang some songs including the number “Dile-nadaan tujhe hua kya hai” and the audience turned silent. Everyone was lost in his music.

Many prominent personalities from Delhi city, especially from the corporate sector turned up and had the time of their life. Some of the big names seen on the evening are Shivani Wazir Pasrich, Subhalakshmi’s wife Amjad Ali Khan, Pranav Ansal, Sunjay Kapur, Ponty Chaddha, UK Bose and many others

training that provided him a strong traditional base of raga-sangeet combining both the gayaki and tantrakari styles in his instrument. His recitals demonstrate a high technical virtuosity. His intricate layakari, Chandkari and speedy taan patterns running through three octaves and melodious alaap leave a scintillating effect on the listeners.

For his enormous contribution in the field of Hindustani classical music, he is hailed as the “Saint of Santoor” and the “King of Santoor”.

A highly learned person, Pandit Bhajan Sopori did his Masters both in Santoor and Sitar besides having Masters degree in English literature. He also studied Western classical music at the Washington University, USA. Panditji’s research on sound and his instrument, Santoor, is remarkable. Pharmaceutical companies have released his albums on ‘sound therapy’. One of the highly commended albums which have had tremendous effects on the listeners is ‘Naag Yoga on Santoor’.

Panditji is a widely travelled person, having propagated Indian classical music and culture all over the world and creating interest for the Indian classical music amongst the general public, specially the youth.

Panditji, a music director of repute, is the only classical musician of India having composed music for more than 4000 songs in almost all the languages of the country including Sanskrit, Persian, Arabic, etc.
He has directed music for films, commercials, documentaries, serials, operas, chorals, orchestras, etc. He has been the youngest composer to compose for the National Orchestra (Vadya Vrinda).

He has revived and re-composed the INA songs for national integration and unity of the country. He has composed Anti-Terrorist songs for different television networks and ‘All India Radio ‘ like ‘”Savdhan”, Mere Jannath Mere Kashmir”, etc. Some of his very popular songs, which are loved by the people of all age groups have been sung by almost all eminent playback singers. These include: “ Hum Hoonge Kamyab”, “Bharat Bharat”, “Hum Iske Santan”, “Kadam Kadam Badaye Ja”, “ Sarfaroshi Ke Tamanna”, “ Vijayee Vishva Tiranga Pyara”, “ Vande Matram”, “ Bharat Ke Beti”, Naman Tujko Mera Bharat”, etc. and “ Saare Jahan Se Aachaa” whuch has been sung and played by various eminent Clasical musicians of the country. His instrumrntal version of “ Vande Matram” leaves a soothing impact on the listerners.
His Religious Hymns and Vedic Chanting of Shlokas, Mantras, Naats, Guru-bani, etc. are unparalleled like ‘Mahamritunjaya’, Durga Kavach’, Surya Upasana’, etc. His recitals and compositions have proved to be a trendsetter in North Indian musical scenario of the country.
Pandit Bhajan Sopori has composed and introduced three new Raga’s: Raga LALALESHWARI, Raga PATWANTI and Raga NIRMALRANJANI.
After 13 years of militancy in the valley, he is the only Classical Musician to go back to Kashmir to revive the Indian Classical Music amongst the masses by his concerts in the state.

For his contribution to the field of music, he has received numerous awards, including the prestigious Sangeet Natak Academy Award( 1993), Delhi Telgu Academy Award, Akashwani Annual Awards, Abhinav Kala Samman, Punjab Sakha Award, Shardha Samman, Shiromani Award, Kala Yogi Award, Delhi Ratan Award, Distinguished leadership award, Shree Bhatt Kirti Award, and Beenkar Award.He was honoured at Golden Jubliee celebrations of AIR (Srinagar) for his contribution to Kashmiri music and also honoured with the National Flag of the Arab Republic of Egypt.

Like fast food
One canot help wondering why a musician with such a terrific track record and loads of honours and awards had not so far given a thought to utilize his talent in the film industry too. Asked if he would now give a thought to composing music for films, Panditji tells me during a chat ‘upto now I had never given a thought to compose music for films, but considering the deterioration that has set in and indeed the scope for improvement, now I won’t mind considering film projects where I can contribute my knowledge of music and talent without compromising my self-respect. More so, as I feel that bad music is more dangerous than an atom bomb. It can do harm to generations of people.”

Who are some of the music directors in the film industry whose music you liked? Panditji says “I liked the work of Anil Biswas, Naushad, Madan Mohan, Vasant Desai, and Khayyam. They are well-versed in classical music and gave raga-based music unlike most of the younger music composers of today whose work is like fast food and is, consequently, short-lived.

What, in his opinion, is the particular strength of Indian classical music and how would he contribute to it? ‘The variety and richness one finds in Indian classical music is not found in the music of any other country. As for as my contribution is concerned, I would also contribute, among other things, the rich folk music of Kashmir valley.

P.S.- As we are going to the press, we heard the welcome news that Shri Bhajan Sopori has been awarded the prestigious Padma Shri. Our Heartiest Congratulations to him.

She is going strong at 77. Age doesn’t make any difference to Girija Devi, the living legend of multiple music traditions. Her hair has grown gray and her health too has deteriorated but she is still 18 when it comes to music. In fact, her voice seems to grow younger with the growing age. She till sings her rich list of kajri, chaiti, thumri, hori and others with great intensity and zeal. She considers music as prayer. So, she prays to Almighty everyday through the form of music.

It is music that keeps her strong and young at heart. Her teeth are stained from chewing paan and it is like a trademark. Everything in her looks good. People still get stunned on seeing the energy of this exponent of Hindustani music. She recently said that she could sing for 70 hours, as she has been learning music for 70 years. These words from the living legend expose her passion and love for music.

Girija Devi broke the cocoons of conservatism by learning music at a time when girls were confined to homes only. Her father saw her love for music and put her under the guidance of Sarju Prasad Mishra, a sarangiya and a vocalist. He taught her khayal in major ragas and she learnt tappa and thumri too. She said that Sarju Prasad used to play sarangi most of the time. She then learnt under Shrichand Mishra, who is a master of vocals and tabla. Her exposure to various forms of music has given her variety to her work.
 
Learning music was a struggle, as she is a woman. She followed her passion while keeping family responsibilities as a wife. Everyday was a struggle. She used to get up at 3.30 am and practice music till 6 am before handling household works. Then she practiced tanpura when everybody left home till dinnertime set in. The passion in her never died. She used to practice music till midnight when men folks in the family play cards. That was her daily routine. However, she said that she never wanted to perform, though she is known or her stage performance today. She added that she started giving concerts because of her gurus and well-wishers.

She learnt two distinctly diverse traditions yet she got them with ease. She sings khayal with great amount of calmness and then switches to thumri without any hassle. However, she said that learning various forms of music is not new to the people in Benares. She also clarified that her rendition of thumris is not seductive but philosophical in nature. Musicologist Deepak S. Raja said that Girija Devi couldn’t be compared to Benares stalwarts of the earlier generation like Rasoolan Bai and Siddheshwari Devi, as she is an original musician belonging to romanticist genres. He added that the way she engineers between the poetic, melodic and rhythmic elements is brilliant.

Girija Devi also spent years together, trying to find out the connections between emotion and words. She said that she worked hard for months in order to find the ways in which words like dheere, aao, jaao etc could be negotiated. Deepak Raja also said that the way Girija Devi deploys melodic and rhythmic elements is commendable. He added that she could generate good emotional communication because of her deep involvement with poetic and melodic elements.

India boosts of only few proficient thumri performers today. Classical musicians once scorned thumri but many youngsters have started taking it up today, which is an encouraging sign. Maybe this conflict gave birth to Bandisha thumri, which is sung by male singers only, as it gives more importance to rhythm rather than the emotional elements.

However, Girija Devi is unaffected by this conflict. She still devotes to her music and considers a blessing to perform even at this age. She recently performed for two-and-a-half hours in France soon after her bypass surgery. She said that she would cherish the four-minute standing ovation that the audience in France gave her.

This living legend deserves standing ovation where she goes. She is indeed a treasure to the country and the world at large.

Musicians of the calibre of Ustad Vilayat Khan are born once in a life time and their legacy carries on much after they have departed. Navras Records Ltd, UK, and Sony Nad, India, in association with the Ustad Inayat Khan Music Foundation, will be presenting a tribute to the legendary Sitar Maestro on his death anniversary. Pt. Ulhas Khashalkar and Sujat Khan will perform on this Memorial Concert. The Ustad Vilayat Khan Memorial Concert will be held at Nehru Centre, Worli,on Monday, March 13 at 6.30 pm.

Khan sahab was the most influential sitarist of the post-independence period, and amongst the greatest musicians of the 20th century.  He represented the sixth generation of the Etawah Gharana, a lineage of distinguished musicians, founded in the 18th century. Music came to him naturally. His grandfather Ustad Imdad Khan was the creator of the modern sitar and surbahar, and his father Ustad Inayat Khan was one of the most influential sitarists of his times.

His maternal grandfather Ustad Bande Hassan Khan and maternal uncle Ustad Zinda Hassan Khan - both vocalists - and his paternal uncle Ustad Wahid Khan, a distinguished Sitar and Surbahar player groomed Ustad Vilayat Khan. With sound training in vocalism and a mastery over the Sitar and the Surbahar, Ustadji became the creator of the revolutionary Gayaki Ang of the sitar, which largely overcame the technical limitations of the instrument to simulate the experience of modern vocalism - primarily Khayal and Thumree.
At 17, Vilayat Khan exploded on the Hindustani classical music scene in 1944 at the Vikramaditya Music Conference. He was instantly hailed as an Ustad. From then till his demise, Ustadji remained amongst the most respected and popular Hindustani clasical musician in India and abroad.

Mr. Vibhaker Baxi, Chairman & Managing Director of Navras Records Ltd., UK, said from London that prior to Ustadji’s demise, he was exclusive with Navras Records. “It is very saddening that he is not amongst us today but we feel privileged and honoured to present this concert to keep his memory alive,” he said.

Talking about the emotional significance of the concert, Santoor Maestro and Director of Navras Records Pt Satish Vyas said, “Ustad Vilayat Khan was one of the role models of Indian musicians.”

Invitation cards will be available on first come first serve basis at Rhythm House (Tel No: 2284 2835 & Maharashtra Watch Company (Tel No: 2422 3011) Dadar.

Chennai, February 24, 2006: Indian Clacal music has not been given its due place by the international music community, legendary Hindustani classical singer Pandit Jasraj said today and likened it to India not being bestowed with a permanent membership in the United Nation Security Council.

"Though the world has recognised India as a 'power', the world body does not think it fit enough to be made a permanent member of the Security Council. Indian classical music, with its long age and tradition, is also being treated like that," he said.

Coming down heavily on the Centre for not doing anything substantial for the promotion of Hindustani and Carnatic music, he said his repeated plea for starting an exclusive channel by Doordarshan for Indian classical music found no takers.

Even private channels are not coming forward to start an exclusive channels for sastriya sangeet, he said, adding patronage by satellite channels was a must for the development of classical music.

He said the western music world had not given due recognition to Indian classical music. Awards like Grammy awards should be instituted for classical music, he said.

Time was not far off for instituting such awards, he said adding that he, along with other musical geniuses were toying with an idea of Indian music awards, which would recognise all music systems.

Hubli: Eminent Hindustani vocalist Dr Gangubai Hangal will be felicitated on her 94th birthday on March five at a function, to be attended by noted film actor Nana Patekar.

Announcing this at a press conference here, Padma Vibhushan Dr Hangal Janmotsava Samiti chief Hayavadan Joshi said the fans of Dr Hangal would celebrate the legend's birthday throughout the year in several places, including Pune, Bangalore and Dharwad.

He said Dr Hangal had expressed her willingness to sing at the celebrations along with her disciples